It was replaced three years later as the prime site for Baltimore live theatre patrons with the opening in the landmark of the new downtown redevelopment project of Charles Center, the starkly modernistic "Brutalist" architecture of the Morris A.
Starting in 1946, Civil Rights activists in Baltimore such as Adah Jenkins began to picket the Ford's Grand Opera House.
This demonstration was a direct result of the Jim Crow policies at the time, which led to segregation in seating, accommodation, and ticket availability for people of colored skin.
[2] During this period, Civil Rights activists were able to make an impact on the segregation policies of Baltimore's theatres to the point where it was recognized by the NAACP.
[4] To help end segregation in Ford's theatre, protestors enlisted the help of the NAACP, playwrights, actors, and more which proved to be very effective in bringing awareness to the community.